Bob

The Bob Baker Marionette Theater was about to debut its first new production in 45 years, and it was uncertain whether one of the show’s signature new puppets would even work. A pelican, with an oversized bucket-like beak, was in need of last-minute maintenance.

This gangly bird, designed to hop, skip, soar and sing to Clarence Henry’s mid-’50s rhythm and blues hit “Ain’t Got No Home,” was supposed to surprise the audience, as its elongated bill is actually hiding a frog. Getting the pelican-frog duo to perform in unison was a feat of mechanical artistry for the team, not to mention the choreography needed by the puppeteer.

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And in the minutes before showtime, director Alex Evans was trying to stay calm. In such moments, he would say later, he only need remind himself of an old adage in the puppet arts.

“Puppets,” he says, “break all the time.”

With that, he was ready to embrace the unknown.

“I always say I love the chaos of live theater,” Evans says. “We got to believe in this thing.”

“Choo Choo Revue,” the latest in a long line of song-and-dance productions, is arriving at a momentous time for the Bob Baker Marionette Theater. Just last month the troupe announced its intent to purchase its venue on Highland Park’s York Boulevard for $5 million, doing so as it was gearing up for performances at the Coachella Valley Music and Arts Festival. The latter went viral, a fact Evans attributes to many of the first week shows of “Choo Choo Revue” selling out.

An organist plays while people file into the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theater.

In many ways, “Choo Choo Revue” is a statement piece. Evans, who also serves as co-executive director with Mary Fagot, wants to place the spotlight on the theater’s current crop of artists, fabricators and collaborators. While the show pays tribute in many ways to the theater’s legendary namesake founder, perhaps most notably in its use of his vintage record collection, it’s time, Evans says, for the Bob Baker Marionette Theater’s next generation to shine.

Evans was instrumental in the decision to shift the team away from the previously announced production of “Arabian Nights,” a project once spearheaded by Baker, who died in 2014. Just ahead of the arrival of the 2020 COVID-19 pandemic, the theater had gone so far as to print an “Arabian Nights” program, and had finished sets and puppets ready to go.

“Choo Choo Revue” is the first new Bob Baker Marionette show since 1981’s “Hooray LA!”

During the forced closure, however, the team began to rethink its future. “It was a deep-breath time to do some internal thinking about who we are and what we want to prioritize,” says Evans, who joined the company in 2007 as a volunteer and became a staffer in 2009.

“The first new show in 40 years — us finishing one of Bob’s shows would have been deeply personal and meaningful, but it would have kept the narrative, internally and externally, that this was one person’s vision,” Evans says. “‘Choo Choo’ is the culmination of so many different ideas and people. It was purposefully about opening the floodgates, that Bob Baker could be more than just the person of Bob Baker.”

It wasn’t a sure thing the Bob Baker Marionette Theater would even reach this milestone. For much of the past decade — since about the death of the theater’s patriarch — the narrative surrounding the theater was one of survival.

In 2019, the Bob Baker Marionette Theater needed a lifeline. Forced out of its edge-of-downtown home of more than 55 years, the beloved troupe with its thousands of handcrafted puppets — a saucy black cat in heels, a fish out of water that can’t help but wiggle — ultimately found a new location in a Highland Park theater, where it signed a 10-year lease.

Then came the pandemic, when the theater relied heavily on community fundraising to cover its rent. California, and Hollywood in particular, has a rich puppetry tradition. Bob Baker Marionette Theater likes to refer to itself as the largest ongoing puppet theater in the U.S. The oldest puppet space in the country resides up north in Oakland at amusement park Children’s Fairyland. And in 2020, Bob Baker found it had many fans, asking at one point to raise $365,000 over the course of a year. It did so in four weeks.

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1. L Castro twirls a marionette. 2. The audience gives a round of applause after the premiere of “Choo Choo Revue.” 3. People stand in line for the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theatre. (Carlin Stiehl/For The Times)

Old favorites, including the theater’s famed black cat marionette, make appearances in “Choo Choo Revue.”

But it was the long process of buying its home, namely the belief that it would be in Highland Park to stay, that gave the company the confidence that it could go forward with a new show. The obvious question, of course, is why it took 40 years for a completely fresh Bob Baker experience. Evans gives a long answer, pointing to numerous hurdles, be it the shift in locations, the cost of preserving its historic puppets and collection, as well as just managing priorities.

“It’s not necessarily a financial hurdle,” Evans says, noting “Choo Choo Revue” cost $300,000, with about half of that sum dedicated to the creation of new puppets and scenery.

“I think it was more about priorities,” Evans says. “Like, do we get the staff healthcare first, or do we do a new show first? So we got the staff healthcare. Or do we give the stage better lighting.”

As for how and why the team settled on “Choo Choo Revue” as its first production since 1981’s “Hooray LA!,” Evans says not to overthink it.

“It made me giggle,” he says. “It was a jumping off point to imagination. ‘Choo Choo Revue,’ by name itself, I thought to giggle.”

The show is a fantastical representation of a cross-country train trip, filled with adorable puppet trains.

A meticulously detailed log with windows, for instance, or a car that seems to balance natural, mountainous wonders on its back. They’re colorful playthings, at least until the background scenery starts depicting various locomotive styles. Puppeteers will whisk train cars out into the open, each often housing a fantastical creature — a moose, for instance, who takes a break from knitting to prance around to a rendition of the on-theme traditional blues ditty “Midnight Special.”

Behind it all are tens of thousands of hours of handcrafted proficiency. Each new puppet is a work of art. Take, for instance, a swarm of bats that seemed to glow in the dark (the creatures, created for “Choo Choo Revue,” made their debut during last year’s Halloween season).

The Bob Baker Marionette Theater created more than 100 new puppets for “Choo Choo Revue,” including a pelican hiding a frog in its beak.

Or an intricately detailed cicada band. They’re each playing tiny instruments — one a half-open sardine can, another a stringed matchbook. Their wings deserve a close inspection, as the translucent curved fixtures are inspired by stained glass windows. There are trees that ski, and train whistles with big lips and high heels, modeled after harmony group the Andrews Sisters. Wait till the latter toot off their tops, as each of the 100 new puppets is full of surprises.

“We get a bunch of different artists together, and we all brainstorm,” Evans says of the creation process. “Like, ‘Let’s all think for a second about anthropomorphizing trains.’ We did a series of sketches and showed them to each other. I honestly probably have a thousand different fascinating ideas for train movement.”

On opening night, the crowd claps along to the numbers, cheering with delight at each new piece of whimsy that rolls or soars onto the floor-level stage. And as for the showstopping pelican, the frog erupts out of its beak right on cue, a moment that indeed inspires a round of laughter and childlike awe.

As the imaginary train whisks the puppets around the country, the show manages to build anticipation just by making the crowd wonder what comes next. Say, for instance, a fluffy Sasquatch, or a crooner of a moon in pajamas singing an old-timey lullaby to all the little ones seated cross-legged on the floor.

Puppeteer Ginger Duncan twirls a marionette named Comedy.

Much of “Choo Choo Revue,” like the yawning, serenading moon, is rooted in the music of the past. That was a decision made to ensure the show feels in line with earlier Bob Baker works. Yet Evans says the team is emboldend after Coachella to start tackling more contemporary songs at its Highland Park headquarters. The crowd at the Indio festival, for instance, went wild for the puppets swooning to Ben Platt’s cover of Addison Rae’s hit tune “Diet Pepsi.”

“Honestly, if we had done Coachella last year, it would have pushed ‘Choo Choo’ further,” he says, noting he initially feared pop music could distract. “I didn’t think it could work in a way that wouldn’t throw you out of the show.”

And yet Evans doesn’t want to get ahead of himself. He nearly teared up at the end of the “Choo Choo Revue” premiere, saying the following afternoon that seeing this show come together after multiple years was second only to his 2025 wedding in terms of creating an “overwhelming feeling of pride, love and care.”

“Choo Choo Revue” culminates in a look toward the future. That’s when a sleek, silver, oversized high-speed bullet train arrives on the scene.

It can be read as a metaphor.

While the nonprofit is still seeking donor help — at the premiere, Fagot said the company now has secured $4.7 million toward its $5 million goal of buying the theater and it also hopes to raise an additional $2 million for building upgrades — its future is more secure than it has been at any time over the past decade.

At long last, the Bob Baker Marionette Theater can relax and look toward new horizons.

Evans, for instance, can’t help himself excitedly tease a potential next Bob Baker show. He says twice in the interview that the Olympics are on the troupe’s mind.

“We’ve got two years,” he says. And now the permanent home to house it.

BBC RADIO 2 legend Bob Harris has shared a new health update with fans, after revealing that his cancer has spread. 

The radio star, who previously revealed he was forced to take a break from broadcasting as a result of his health issues, posted a new image of himself with a big grin and a thumbs up. 

Bob, 80, could be seen sitting at home in a gown and appeared in good spirits, while writing to fans: “Hiya Folks! I hope you’re all ok. Sending you all my love.” 

The star, who is resting up at home and out of hospital, was flooded with sweet messages from fans. 

One person wrote: “Sending all the love your way,” while another added: “Fab photo Looking great. Keep up the good work.” 

Bob, 80, was initially diagnosed with prostate cancer in 2007 and managed the disease with treatment before recent setbacks.

‘FRIGHTENING NEWS’

BBC Radio 2’s Bob Harris reveals his cancer has spread in health update

‘ROAD TO RECOVERY’

BBC Radio 2’s Bob Harris taking a break after surviving a heart scare

Last month, he shared how his cancer has spread from his prostate to his upper spine.

Taking to Instagram to update his fans at the time, Bob shared a photo of himself walking with a stick.

“I’m sorry it’s been so long since I last posted but the past few weeks have proved to be an extremely testing time,” he penned in the caption.

Bob went on: “When I posted last time from hospital, we were trying to find the reason for the excruciating pain I was feeling in my back.

“Several scans later, we discovered that my prostate cancer has got into my upper spine…really frightening news.

“So, I immediately began a course of radiotherapy – two weeks in hospital in total – to bring things back under control. Thankfully I’m back at home now, on the pathway to recovery and feeling stronger every day.”

He added: “I have started a programme of rehab and today I got out into this glorious weather for the first time with my son @expiredfilmclub who took the photograph.

“Just want to send so much love to Zoe and to everyone who have been in touch.

“See you soon folks! xxx.”

Bob previously suffered a heart scare that forced him off the air in 2019. 

He suffered a tear to his aorta which he described as “extremely serious” at the time.

Bob has hosted The Country Show on BBC Radio 2 for a number of years and famously hosted BBC Two music show, The Old Grey Whistle Test, in the 1970s.

It was a brotherly battle at UCLA’s spring football game on a clear Saturday afternoon at the Rose Bowl.

At the helm of the opposing white and blue teams, respectively, quarterbacks Nico and Madden Iamaleava led the split halves of the Bruins squad during a well-attended end to the first spring camp under the direction of new coach Bob Chesney.

Fittingly, Madden tossed the go-ahead touchdown pass from near the logo to a wide-open Kenneth Moore III, putting his blue team up 24-17, the eventual final score.

“It’s been a while since I’ve seen him just play football,” Nico said of his brother. “So it was fun seeing him out there operate.”

UCLA defensive back Osiris Gilbert knocks the ball out of the hand of UCLA receiver Shane Rosenthal during the spring game at the Rose Bowl on Saturday.

(Allen J. Schaben/Los Angeles Times)

Nico’s team, with play-calling help from Bruins women’s basketball coach Cori Close throughout the second half, got to fourth-and-goal situations twice as the game wound down. One ended in a missed field goal by Mateo Orosco, who had made a 57-yarder, and the other concluded with the blue team storming the field after a pass from quarterback Ty Dieffenbach was incomplete with 10 seconds left.

The addition of the guest play-callers, Close and women’s water polo coach Adam Wright, led to a variety of trick plays throughout the game. Multiple flea-flickers went for big yards, and offensive lineman Mike McDonald took a rushing attempt as a part of the fun atmosphere that Chesney said he wanted to foster at the game.

To come up with one of the plays, Chesney said, Close messaged Rams coach Sean McVay for advice.

“We put some of those plays in so that she would be able to execute what she wanted to. She just came up a little short and I think she did a really good job of motivating her team,” Chesney said of Close’s second-half calls. “Coach Wright just really dialed it in and was able to strike when he had to and put that game away.”

Just before Moore caught his first touchdown in a Bruins uniform, he was running another deep route when he ran into a referee, breaking up what may have been an explosive play.

“Why’d you let the referee cover you?” Chesney asked, posing as a reporter during Moore’s interview.

“That was great defense,” Moore said in response, sporting a smile. “He was so stealthy.”

It had been a few years since the Bruins held a traditional spring game at the Rose Bowl, with previous coaches favoring lower-profile practices that were dubbed spring showcases. This year’s game also comes after the Bruins in February announced that the iconic Pasadena stadium would remain their home, at least this year, amid ongoing litigation over the university’s right to potentially break its lease and play home games at SoFi Stadium.

UCLA receiver Landon Ellis catches a touchdown pass in front of Jhase McMillan (23) and Curtis Gerrand (35) during the spring game at the Rose Bowl Saturday.

(Allen J. Schaben/Los Angeles Times)

Chesney said holding a traditional spring game was like a “practice run” for the upcoming season. Ahead of Saturday’s game, the Bruins stayed in a hotel together and had walk-throughs on the field as well as meetings and pretty much anything else they could do to simulate a game. Chesney and many players got their first look at the Rose Bowl lit up at night during a visit Friday.

“To get a chance to walk in here and just feel this and see all of these surroundings and the things that took place in this venue is pretty special,” Chesney said. “We addressed that a little bit last night as a team, and made sure we understand the respect that this place deserves and understand the attitude of gratitude that we should have for the ability to play here.”

Defensive back Cole Martin, a Pasadena native who was on the blue team, called this spring game “magnificent” when asked to compare it to last year’s spring football practice finale. He specifically noted playing at the Rose Bowl as a reason for the strong atmosphere and an important experience for new UCLA players.

“First time in the Rose Bowl, first touchdown as a college player, I mean, it’s awesome,” Martin said, looking at the freshman Moore. “It doesn’t get better than that.”

Walking by reporters during the game, Bob Stiles, who made a famous goal-line stop on a two-point conversion to seal UCLA’s upset win over Michigan State in the 1966 Rose Bowl, concurred. “This is fun,” Stiles said.

Running back Anthony Woods was a standout on the white team, scoring the first touchdown of the game on a six-yard run and going for multiple big gains early.

Receivers Mikey Matthews for white and Landon Ellis for blue scored the other two touchdowns on red zone crossing routes.

The other 10 points, besides the four touchdowns and field goal, were given out equally for victories in side competitions in between the first and second quarters and third and fourth quarters. Both were won by blue, aiding its seven-point win.

On defense, cornerback Osiris Gilbert broke up multiple passes and had a few hard hits, linebacker Samuel Omosigho earned a sack, and linebacker Malaki Soliai-Tui forced a fumble.

Chesney said he was happy with his team’s performance, noting penalties, like the various defensive pass interference calls, as a key area for improvement.

UCLA coach Bob Chesney pats running back Anthony Woods on the helmet during the team’s spring game at the Rose Bowl on Saturday.

(Allen J. Schaben/Los Angeles Times)

“It went well,” Chesney said. “I wouldn’t say unbelievable. I wouldn’t say terrible. Most of the time, it was somewhere in between.”

Both Nico Iamaleava, for the offense, and Martin, for the defense, said the units had things to work on, but they were proud of how much they improved during spring camp. With a bit of a break before preparation for the fall ramps up, Iamaleava’s message to the team was simple: “Stay together.”

Chesney echoed the sentiment, saying building on the intensity and development from the spring, rather than starting again during the summer, will be key to the Bruins succeeding during the season.

“We’re back, baby,” Chesney said to fans right before the fourth quarter began. “We’re back.”

Bob Olinger rode off into retirement with victory in the Champion Stayers Hurdle on day three of the Punchestown Festival.

Ridden by Darragh O’Keefe, the Henry de Bromhead-trained 11-year-old (4-1) saw off Willie Mullins’ Jimmy Du Seuil (9-1) and pre-race favourite Teahupoo (5-4) who was seeking a third consecutive triumph in the race.

It capped a remarkable 11-win career that produced three at Cheltenham, as he rolled back the years to go out on a high.

Teahupoo led as they headed down the final stretch of the three-mile circuit, but Bob Olinger had closed the gap by the final fence and had more in the tank to open a gap.

While Jimmy Du Seuil applied late pressure, it just was not enough as Bob Olinger had three-quarters of a length to spare.

The Novice Chase went the way of Salvator Mundi (13-2) who took advantage of a fall from favourite Kopek Des Bordes.

With Mullins’ new retained jockey Harry Cobden onboard, it was a case of taking advantage of his stablemate’s misfortune two fences from home to claim the win.

Kopek Des Bordes seemed to be in full control before the fall with Salvator Mundi, who was on his coattails, galloping to a 12-length win from second place Irish Panther (15-2) and Jacob’s Ladder (18-1) in third.

By early 1963, the Station Hotel in London had become an epicenter of the burgeoning British blues scene. On a blustery, snowy night that February, the Rolling Stones’ classic early lineup took the stage for one of the first times, dazzling the audience with ferocious renditions of blues standards like Muddy Waters’ “I Want to Be Loved” and Jimmy Reed’s “Bright Lights, Big City.”

Multi-instrumentalist Brian Jones, the band’s founder and leader, synchronized guitars with Keith Richards, who favored a distinctive slashing and stinging style. Drummer Charlie Watts, the group’s newest member, a jazz aficionado and an accomplished percussionist, propelled the music forward with a rock-solid beat.

Anchoring the rhythm section with him was bassist Bill Wyman, who was recruited more for his spare VOX AC30 amp that the guitarists could plug into than for his musical skills. The stoic bassist proved a strong and innovative player. Together, he and Watts would go on to form one of rock’s most decorated rhythm sections.

Ian Stewart’s energetic boogie-woogie piano style rounded out the sound. Months later, manager Andrew Loog Oldham kicked him out of the band for being “ugly,” although Stewart continued to record, tour and serve as the band’s road manager until his death in 1985.

This April 8, 1964, file photo shows the Rolling Stones during a rehearsal. The members, from left, are Brian Jones, guitar; Bill Wyman, bass; Charlie Watts, drums; Mick Jagger, vocals; and Keith Richards, guitar.

(Associated Press)

Fronting the group was Mick Jagger. Channeling the music like a crazed shaman, Jagger shimmied and sashayed, owning the stage like few lead singers have before or since. By the end of the night, the Stones had the crowd in a frenzy. Although only 30 people had made it to the gig because of the treacherous weather conditions, the hotel’s booker had seen enough: He offered the Stones a regular gig.

“The Rolling Stones had caught fire. The music they were playing and the way they played it struck a chord with a young crowd starved for something different, something their own… It was soul-stirring, loud and uncompromising,” writes Bob Spitz in “The Rolling Stones: The Biography,” his magisterial work that charts the 60-year journey of “the greatest rock and roll band in the world.”

Spitz, the author of strong biographies on the Beatles and Led Zeppelin, as well as Ronald Reagan and Julia Child, captures the drama, trauma and betrayals that have kept the Stones in the public’s consciousness for more than six decades. It’s all here: The Stones’ evolution from a blues cover band to artistic rival of the Beatles; the musical peaks — “Aftermath,” “Let It Bleed” and “Exile on Main Street” as well as misfires like “Dirty Work”; Keith’s descent into a debilitating heroin addiction that nearly destroyed him and the band; the death of the ‘60s at the ill-fated Altamont free concert; Marianne Faithfull, Anita Pallenberg, Bianca Jagger, Jerry Hall and other lovers, partners and muses; the breakups, makeups and crackups; and perhaps most important, the unbreakable bond between Jagger and Richards at the center of it all.

Although Spitz unearths little new information, he excels at presenting the Stones in glorious Technicolor. Spitz homes in on the telling details and anecdotes that give the band’s story a deep richness and poignancy.

Take “Satisfaction,” the Stones’ 1965 classic and first U.S. chart topper. The oft-told story is that Richards woke up in the middle of the night, grabbed the guitar that was next to his bed, and recorded the iconic riff and the phrase “I can’t get no … satisfaction” on a cassette recorder in his Clearwater, Fla., hotel room before falling back asleep. But as Spitz notes, the song initially went nowhere in the studio. That is until Stewart purchased a fuzz box for Richards a few days later, which gave the tune a raunchier sound that perfectly matched Jagger’s lyrics of frustration and alienation. A classic was born.

Piercing the Stones mythology

Spitz’s deep reporting often pierces the mythology surrounding the band. Contrary to the popular belief of many fans, for instance, Jones bears much of the responsibility for the rift with his bandmates and his tragic demise.

The most musically adventurous member of the group — he plays sitar on “Paint It Black” and dulcimer on “Lady Jane” — Jones wasn’t a songwriter. That stoked his jealousies and insecurities, along with frontman Jagger stealing the spotlight from him. A monster of a man, Jones impregnated multiple teenage girls and physically and emotionally abused several women, including Pallenberg. Perhaps that’s why she left him for Richards. Over time, Jones made fewer contributions in the studio and onstage, becoming a catatonic drug casualty. The Stones fired Jones in June 1969 but would have been justified doing so a couple years earlier. He drowned in his pool less than a month later.

Author Bob Spitz

(Elena Seibert)

Similarly, Stones lore has long romanticized the making of “Exile on Main Street” in the stifling, dingy basement of Richards’ rented Villa Nellcôte in the South of France, where the Stones had decamped to avoid British taxes. In this telling, Richards, deep in the throes of heroin addiction, somehow managed to come up with one indelible riff after another built around his signature open G tuning — taught to him by Ry Cooder — leading the band to create one of the best albums in rock history. That’s not entirely accurate, according to Spitz.

Yes, Richards came up with the licks for “Rocks Off,” “Happy” and “Tumbling Dice.” But it’s equally true that a strung-out Richards missed myriad recording sessions, invited dealers, hangers-on and other distractions to Nellcôte, and repeatedly failed to turn up to write with Jagger. Far from completing the album in the druggy haze of a French basement, the band spent six months on overdubs at Sunset Sound in Los Angeles, where Jagger contributed many of his vocals.

Beatles vs. Stones

One of the more interesting themes Spitz develops is the symbiotic relationship between the Beatles and Stones, with the Fab Four mostly overshadowing them — until they didn’t.

John Lennon and Paul McCartney wrote “I Wanna Be Your Man” and gave it to the Stones, whose 1963 rendition, with Jones on slide guitar, became the group’s first UK Top 20 hit. The Lennon-McCartney songwriting partnership inspired Jagger and Richards to begin penning their own songs. In early 1964, the Beatles came to the U.S. for the first time, making television history with their appearance on “The Ed Sullivan Show” and playing Carnegie Hall. A few months later, the Stones kicked off their inaugural American tour at the Swing Auditorium in San Bernardino. In 1967, the Beatles released “Sgt. Pepper’s Lonely Hearts Club Band,” a psychedelic masterpiece. The Stones responded with “Their Satanic Majesties Request,” a psychedelic mess.

The Rolling Stones: The Biography cover

As the Beatles began to splinter, Spitz writes, the Stones sharpened their focus. The band released “Beggars Banquet” in late 1968 and “Let It Bleed” the following year, albums every bit as innovative and visionary as “The White Album” and “Abbey Road.” For the first time, the two groups stood as equals.

When the Beatles broke up in 1970, the Stones kept rolling. With Jones replaced by virtuoso guitarist Mick Taylor — whose fluid, melodic style served as a tasty foil to Richards — they produced what many consider their finest works, “Sticky Fingers” and “Exile on Main Street.” More impressively, the band, with Taylor’s successor, Ronnie Wood, has continued to dazzle audiences with incendiary live shows, touring as recently as 2024 behind the late-career triumph “Hackney Diamonds.” The Beatles, by contrast, retired from the road in 1966 and devoted their energies to the studio.

Hundreds of books have been written about the Rolling Stones, but few sparkle quite like Spitz’s. For anyone who loves or even likes the Stones, it’s indispensable.

Like most of the band’s biographers, Spitz gives short shrift to the post-“Exile” period after 1972. He curtly dismisses 2005’s strong “A Bigger Bang” and 2016’s “Blue & Lonesome,” a back-to-basics album of blues covers, as “adequate endeavors that signaled a band living on borrowed time.” That critique is both off target and under-developed. Spitz ignores the band’s legendary live album, “Brussels Affair,” recorded in 1973, or why the band waited decades before officially releasing it.

These are small quibbles. Spitz has written a book worthy of its 704-page length; another 50 or so pages covering the later years would have made it even stronger. To quote the Rolling Stones: “I know it’s only rock ‘n roll, but I like it, like it, yes, I do.”

Marc Ballon, a former Times, Forbes and Inc. Magazine reporter, teaches an advanced writing class at USC. He lives in Fullerton.

Spring practice continued for the UCLA football program Tuesday morning at Spaulding Field and for the most part head coach Bob Chesney was pleased with his team’s progress.

It marked the sixth of 14 practices leading up to the annual spring game on May 2 at the Rose Bowl.

“The defense took strides today,” said Chesney, who was hired as the Bruins’ 20th head football coach on Dec. 26, replacing DeShaun Foster (fired after an 0-3 start in 2025) and interim coach Tim Skipper. “There were a couple turnovers in there. This was our second day with the officials, it was a different group and they were throwing some flags today. We just have to understand the game we’re in. As you get further along the referees step aside, but early in the season they’re excited to do their jobs and we gave them enough to throw laundry at so we’ll go back and check it all out.”

Receiver Semaj Morgan caught a touchdown pass from quarterback Nico Iamaleava, tight end Brayden Lofton made several fine catches, Troy Leigber rushed for a touchdown, and Donavyn Pellot and Robert Stafford III had interceptions on defense as the squad is motivated to rebound from a 3-9 season (3-6 in Big Ten) — its worst since its debut season under Chip Kelly in 2018.

“Practice six is usually when it dips a little bit,” said Chesney, who led James Madison to the Sun Belt Conference championship and a berth in the College Football Playoff last season. “On defense we did not, on offense we probably slowed down just a little bit. I didn’t feel a dip from the group, which is great, but usually around now is when that starts to happen. [Practices] six, seven, eight are a little bit of a fight and then you gotta come back when you get to nine, 10 and 11. I thought they did a good job today, not a great job, but you have those days. It’s the nature of the beast. I didn’t see any steps backward from anybody, just a little bit of a lull from what they were bringing the other day. ”

One position group that has impressed Chesney since he arrived in Westwood is running back — a unit that returns a number of players.

“Everybody has their pluses and minuses, everyone has things they’re really good at and things they’re mediocre at and our job every day is taking what’s mediocre and turning it into good — and eventually great — and playing to their strengths,” Chesney said. “Each of them has their own running style. I’ve been impressed with them, they’re one of the stronger groups on this team. It’s necessary as a running back for that to be the case. You have to be durable enough, you have to keep your pad level low and keep your body healthy because there’s probably not another position out there that takes as much of a beating … you’re getting tackled by guys who are sometimes much bigger than you.”

Defensive back Scooter Jackson was not at Tuesday’s practice but Chesney expects him to be back Thursday. Offensive lineman Jordan Davis is dealing with a shoulder injury.

“He’s got range, he just doesn’t feel like he has the full strength yet … but he’s close,” Chesney said of Davis. “On Saturday it was a little worse than it is today, so he’s slowly getting better.”

Chesney praised cornerback DJ Barksdale, an All-Sun Belt selection who transferred from James Madison — a player he knows well.

“The nickel and slot corner is important in the bubble game and the screen game,” Chesney said. “You’ve got to be able to fight through some things physically. You’re also tied in a lot as the bonus in the run game and then there’s times when you’re not there and you’re playing straight man-to-man on the other team’s quickest, best receiver so the skillset you’ve got to carry, the confidence you’ve got to carry and the physicality you’ve got to carry is significant. DJ possesses all of those.”

Chesney is excited about the depth in the defensive backfield.

“Rob [Stafford] did a good job,: he said. “In the red zone he’s been really sticky in coverage and he’s done a really nice job. He’s starting to click with his playbook and understand it and that’s kind of where everyone is at this stage of the game, we’re in practice six so everything we’ve done up to this point is six days of full speed stuff. Osiris [Gilbert] made a really big play on a ball that we had trouble with Saturday. To learn and carry that over from the previous practice into the film room and actuality execute it out here was great to see. Jhase McMillan is doing a great job. We’re rotating them through, we put them in different positions to test them in fire and see who can handle all of it. They’re a little more involved in the running game now, Cover 2 things and corner pressures, blitzing off the edge, they’ve done a really nice job.”

Asked who has stood out in the trenches, Chesney cited Aiden Gobaira, Julian Armella and Riley Robell.

“What’s impressed me most about Julian is his passion for this game,” Chesney said. “He’s got to harness that the right way. I’m sure there’s moments when you play with that much emotion and passion it can tip over, but I’ve been impressed with that part. He uplifts a lot of people when he’s out there. There’s never a moment where he’s just out here and it’s not important — it’s all important to him and that’s infectious.”

Pressuring the quarterback is a defensive priority for Chesney and his staff. A year ago the Bruins tied for last in the Big Ten in pass defense, allowing opponents to complete 66% of their passes.

“On the defensive side we have to continue to take bigger steps,” he said. “Our pass rush looks good, the interior pass rush is something we have to work on. A lot of the games that we’re playing inside we’ve got to continue to fine tune things because obviously the offense knows they’re coming and the element of surprise gets defeated The defense is doing a nice job setting them up, then it’s cool watching the chess match go on between both sides.”

Chesney is known for his emphasis on special teams and the Bruins ran drills throughout Tuesday’s practice focused on that phase of the game.

“I don’t want it to be an afterthought — I want to make sure it’s involved in everything we do,” Chesney stated. “I want it to feel like a game as much as it possibly can but I also want our long snapper, our holder, our kickers and our protection guys to know that the whole team is relying on you so when we put them in those situations at the end to pin the ball, they have to know they have to hold up their end of the bargain.”

What has surprised Chesney most in his first few months in Westwood?

“The alums who come out continually and who like being around this program is something I’d hoped for,” Chesney said. “I understood that practices were maybe different and closed and not open to everybody before, but it’s open to all of our alums and to high school coaches. I’d hoped it would happen and to see it actually transpiring day to day is exciting.”

UCLA’s next practice is Thursday on Spaulding Field at Wasserman Football Center.